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© Raymond Pettibon 


RESEARCH LIBRARY 
Tee GETTY RESEARCH INSTITUTE 


JOHN MOORE ANDREAS COLOR CHEMISTRY LIBRARY FOUNDATION 





THE COLORIST 


DESIGNED TO CORRECT THE COMMONLY HELD 
Ma eORY LHAT RED. YELLOW, AND BLUE 
Pitweiis- PRIMARY COLORS.-AND “IO 
Steve) Hie he EE DED EASY 
METHOD OF DETERMINING 
COLOR HARMONY 


TOGETHER WITH 


A SYSTEM OF COLOR NOMENCLATURE AND OTHER 
PRACTICAL INFORMATION FOR ARTISTS AND 
WORKERS OR DESIGNERS IN COLORS 


| ASE 
J. ARTHUR H. HATT 


THIRD EDITION 





NEW YORK 
D. VAN NOSTRAND COMPANY . 
EIGHT WARREN STREET 
1925 





: '~.* A fina wi y ~~ S Bs. «Sten 
\ a P F : 
. r _ 
_ COPYRIGHT, 1908, BY 
J. ARTHUR H. HATT 
i) > 
CopyRIGHT, 1913, BY 
J. ARTHUR H. HATT 
¥ / —— a 
All rights reserved 
“' ~4 





TO 


Mr. FJobn HD. Morgan 


THIS BOOK IS DEDICATED 
BY THE AUTHOR 





PREFACE TO THE First EDITION 


MAL there are very itew practical works, on 
color would: seem to be a sufficient reason for 
the publication of a new one. When we add 
to this that the few now in existence contain compara- 
tively little information based on the scientific principles 
of light, and color as a function of light, and contain 
consequently many misleading and contradictory state- 
ments, the publication of a work on color, which is based 
on the scientific principles of light and color, and pre- 
sents a consistent theory of color based thereon, becomes 
a necessity. 

About Pte y years ago, a French gentleman, M. E. 
Chevreul, a manufacturer of dyestuffs, made an exten- 
sive series of experiments with colors. He undoubtedly 
made a great contribution to the knowledge of colors, 
but not being as well grounded in the science of color 
as we are at the present time, he naturally made a large 
number of mistakes. These mistakes have been the 
heritage of the art world in all color literature since his 
time. Bye have no desire to detract from the deserved 


Vil 


Vill Preface 


renown of M. Chevreul, who is entitled to praise for a 
great amount of laborious and original work. We do 
wish, however, to emphasize the present need of a scien- 
tifically correct theory of color upon which a more exact 
and at the same time a more artistic practice may be 
based. 

There are, it is true, some excellent scientific works 
on light and color. Unfortunately, however, the scien- 
tist is rarely a great authority on art, and rarely touches 
on those problems in color which the practical worker 
wishes to solve. | 

The object of this little book is to give precise data, 
whereby a color scheme may be analyzed, and beauty 
in color appreciated and produced. The book contains 
for the first time in color literature, either scientific or 
artistic, a complete unity between science and practice, 
as well as a concise and consistent law for color harmony 
and beauty in color, which the author confidently believes 
will stand the test of time and the fullest investigation. 

Although this book is based on scientific principles, 
it is practical, as simple as possible, and may be under- 
stood by all classes of readers. 

The author does not believe with many writers on 
the subject that it requires a genius to be a colorist. 
On the contrary he believes that it requires only a thor- 
ough knowledge of color. A superior aptitude for color 
will of course always produce a superior colorist, because 
the latitude for choice of color in good color composition 


Preface 1X 
XY 


is so very large that the colorist with the best taste or 
talent will naturally do better than one not so well 
endowed. However, with a thorough knowledge of color 
no one need be a bad colorist. 

While this work is intended and adapted for the 
general reader, with the belief that a more thorough knowl- 
edge of color on the part of the public would have a 
great stimulating effect on good art, it is intended espe- 
cially for artists, art students, architects, color printers, 
decorators, and costume designers. 


HOARTHURGEL. LAT. 
BrookKLyn, N. Y., November 21, 1908. 


“~ 





teamee = 
: : 





PREFACE TO THE SECOND EDITION 


the cordial recognition of the first edition of 


‘The Colorist.’ 


Many written and oral expressions of pleasure and 


f | ‘HE Author desires to express his gratification at 


congratulation have been received from readers of the 
book, all attesting to the helpfulness of the color charts, 
and the rational ideas of color harmony and beauty which 
the volume outlines. 

The text of the present edition has been improved 
by the addition of a list of permanent colors, and methods 
fometeteeuse, to the chapter on “A- Pull Palette” 
(Chapter IX.) 

The color plates, also have been enriched by the 
addition of two small examples of color combinations, 
one being an actual example of the ‘“Subtractive Method,” 
and the other a near representation of the “ Additive 
Method”. 

[eA a Eee Ee 


New York 
June 2nd, 1913 





CONTENTS 


CHAPTER, I. 

PAGE 

PeereerokgUURCE OF COLOR? “CHE SPECTRUM... 06%. 000 cence ee Gaus I 
GHAPDER CLL: 

Pmt eA OF PRIMARY COLORS, 0. ey cin cus eee caw es ae eb eens 9 
CHAPLERAILT, 

remem PRIMARY “COLORS... oo. ccs sic we po boc hn shwialu bogs ele ols es 12 
CHAPTER STV: 

Tue Appitive MeTHop oF ComBINING Cotors By Rays oF LIGHT........ 19 
CHAPTER? V, 

THE SUBTRACTIVE METHOD OF COMBINING COLORS WITH PIGMENTS...... 22 
CHAPTER VI. 

THE JuxtTaposit METHOD WITH BOTH LIGHT AND PIGMENTS............ 20 
CHAPTER, Vil: 

Oe oo 01 eS cosa) vag Lips ees do oth: Spsaim Olas a nn oie eo eis mie ee a 35 
CHAPTER VIII 

Ammon AVERSUS CONTRAST).OF COLOR... 0 a. Ole sale cae ens cep ¥hewe eek 47 


SMC A EA PD TP ie ot ohne ale ace niet she alata eke tadel octe Gils bate ate tele Lae ee 53 


X11 Contents 


CHAPTER A, 


PAGE 
THE PRopER Way TO BLEND O11 CoOLors FOR CLEAN LUMINOUS EFrrEectTs, — 62 


CHAPTER Rio: 


COMPLEMENTARY COLORS IN SHADOWS. .. 2.0. ecce ener ccee ess steaaas 64 


CHAPTER XII. 


> SyuRPACE TEXTURE IN: PAINTING. ..¢-<...0 +2050 55%» oly «00s ee 67 
CHAPTER XIII, 

THE PROPER COLORS FOR AERIAL PERSPECTIVE, ....ceeseecerceccreses a 
CHAPTER XIV. 

ART OR TRUTH IN PAINTING... Dot Se en es Se 74 
CHAPTER XV. 

A STANDARD COLoR CODE, AND NOMENCLATURE, .......e+seccccecoces 76 


“CHAPTERY SVL 


ADDENDUM Sr 


DIRECTIONS FOR DETERMINING A COLOR HARMONY 
Veena Hie ATD OF COLOR. CHART (NO. 1) 


Chart is composed of the plus colors and the minus 
colors alternating, and separated by a blend of the 
nearest two colors in each case. 


ia WILL be observed that the main circle of the Color 


These colors merge from the saturated or full strength 
color at the outer edge of the circle to white at the center 

The three outer rings are produced by printing the 
three minus colors over each other in various strengths or 
degrees of saturation. 

By fitting the mask * to the chart, which is done by cen- 
tering it on the chart, and turning it until the desired colors 
show, we have perhaps the widest range of colors exposed 
which can be said to properly harmonize. | 

Artists may safely use all the colors exposed in this 
manner in a picture, with full confidence in securing a 
harmonious result. 

For those who desire a more limited range of colors 
for any purpose, it will only be necessary to further mask 





_* The mask will be found printed on one of the blank pages at the back of 
‘the book, and is to be cut out for use. 


ms Kl «. 


X1V Directions 


out colors not desired by placing strips of paper over the 
exposed portion of the chart and changing them about 
at will until a combination of colors is found that meets 
the taste or requirements of the user. 

The matching of a color on the chart with another 
color or pigment can best be done by viewing the two 
colors through small holes cut in two sheets of white paper 
(or gray paper); the holes should be small enough to 
show only the desired color in each case. 

It will be observed that the Harmony Chart (No. 1) 


does not contain any of the lighter tones of color, but on 


the contrary ranges from full tones of color to deep shades 
of color; where lighter tones or tints of color are desired 
in a combination, they may be observed by viewing the 
chart through very thin white tissue- or wax-paper. 

A mask will not be necessary when the chart is viewed 
in such a manner, as all the colors on the chart should 
harmonize when sufficiently reduced with white. For 
decorative purposes, however, or in cases where a more 
confined harmony would be desirable, the mask may be 
used in the usual way when viewing the chart through 
white tissue-paper. 

A harmony of pure hues may be determined on the 
Nomenclature Chart (No. 2) by placing a mask over it so 
as to expose an arc of 75 degrees on the color ring. (This 
arc will contain five divisions of the colors.) 

On the nomenclature chart it will be noticed that the 
hue named lemon yellow does not accord well with the hue 


x 


Directions XV 


commonly recognized by that name. This is partly because 
the color generally known as lemon yellow is more or less 
a tint, that is, a full hue mixed with white; on the chart 
it is intended to show only full hues. Then again the art 
of printing does not readily lend itself to scientific accuracy, 
and the author will be pleased if the charts are only approxi- 
mately correct. 

Pure minus colors magenta and cyan blue are not at 
present obtainable in permanent pigments, therefore these 
charts should never be exposed to sunlight, and when not 
in use should be protected from all light. Treated in this 
way they will last for years unimpaired. 





} 





“The Colorist’ 


Byi/eAe silat 
Harmony Chart No. | 





An actual example of the 
Subtractive Method of 
Combining Colors. 


This Chart together with the mask is designed for the purpose of py .4n NOSTRAND CO. 
determining color harmonies. See directions on preceding pages. Publishers, N. Y. 


¢ e 39 
‘<The Colorist 
By J. A. H. Hatt 
Nomenclature Chart No. 2 





ral @ 
& Qe > 2s y An approximation of the 
ae a oS & > D Additive Method of Com- 
AD ie oa) > 
- D» & bining Colors. (Not 


an actual example.) 





Y 
> Y 
3 mgs as “ 
en a j=) a 
x = ce 


Showing proposed names for hues 15° apart. Bile ae Sec poe CO. 
udlishners, . . 
Colors opposite each other are complementary. 


THE COLORIST 


CHAPTER I 


LIGHT THE SOURCE OF COLOR 


fact that objects reflect light which, entering the 

eye, excites the optic nerve, and through it, the 
brain. Light therefore is the agency which causes the 
sensation of sight and also of color through the nerves of 
the eye, which are sensitive to the light rays. 


ae: the eye is enabled to see objects is due to the 


The accepted explanation for this phenomenon is that 
what we call or know as light rays are in reality a series 
of waves or agitations of the hypothetical ether, which 
pervades all space. The eye is constructed so as to be 
sensitive to these agitations when they impinge upon it, 
somewhat after the fashion of the focussing screen or 
ground glass in a camera behind the lens. 

Colors are due to differences in the length and rapidity 
of vibration of these ether waves, those of one length 
and corresponding rapidity giving a different color sensa- 


2 The Colorist 


tion from those of a different length and rapidity of vibra- 
tion. Where waves of different lengths are transmitted 
together, the color sensation will correspond to the result- 
ant or additive combination of all the transmitted waves. 

Light is commonly produced by incandescence, natural 
light being rays of sunlight, artificial light being produced 
- by various incandescent materials. The intensity of the 
heat of the incandescent source, as well as the nature of 
the incandescent material, seems to be a determining 
factor as to its general color, the greatest temperature 
producing light rich in violet rays, the lesser tempera- 
ture producing light with a larger amount of red rays. 

Sunlight is a comparatively yellow light, or rich in 
red rays. This is not at all times so obvious because of 
the color of the atmosphere which, being blue, has a ten- 
dency to make the average of light which we perceive 
more nearly white. 

The electric arc lamp often produces a bluish or violet 
light. Most of the common sources of light, such as can- 
dle-light, gas, oil, or incandescent electric lamps, produce 
a yellow light. 

It may be pointed out that this tendency to yellow in 
artificial light may be corrected by allowing the light to 
pass through a bluish-colored glass, which should make 
the light more white. 

Light may be either direct or diffused; direct when it 
is not interfered with in going from its source to an object 
illuminated, as a ray of gaslight falling on a near object, 


Light the Source of Color 3 


or diffused when the light is interfered with, as sunlight on 
a cloudy day, or by reflection, as the daylight illumination 
of a room through-a north window. 

Light may be divided into various colors, as in the 
spectroscope (a prism of glass arranged in an optical instru- 
ment, the image in such instrument being called a spec- 
trum), or by a laminated surface, such as mother-of-pearl. 
Colored objects have the property of dividing light by 
absorption. When we look at a red object which is illumi- 
nated with white light, the sensation of red is produced 
because the violet and green rays are absorbed by the 
object, and not reflected, leaving only the red rays to be 
reflected to the eye. 

It will be seen on examining the image in a spectro- 
scope (the spectrum) that light is divided into three natu- 
ral or grand divisions, namely, ved, green, and violet. A 
small band of yellow and of blue may also be observed in 
the spectrum. These may be accounted for by the over- 
lapping of the red and green rays in the case of the yellow, 
and the overlapping of the green and violet rays in the 
case of the blue. 

It is of course true that there are certain portions of 
the yellow in a pure spectrum which we are not able to 
divide into the red and green elements. The fact remains, 
however, that we can make all hues of yellow by over- 
lapping the red and green. The above remarks also apply 
to the blue. 

The red waves are regarded as being the longest, and the 


4 | The Colorist 


violet waves the shortest. The lengths of light waves are 
said to vary from 750 to 400 million parts of a millimeter. 

If under white light an object appears white, this is due 
to its reflecting all light; if it appears black, it is due to 
its absorbing all the light, and consequently reflecting 
none. If it absorbs some of the light rays or waves, it 
will appear of the color corresponding to the remaining 
rays or waves which are reflected back to the eye of the 
observer. 

The foregoing on the general theory of light is not 
complete or strictly accurate from a scientific standpoint, 
but is regarded as a preferable and sufficient preliminary 
presentation for the purposes of this work. 

With a medium amount of illumination, the red and 
violet colors of the ordinary spectrum may be considered 
as representative or standard. This is not the case, how- 
ever, with the green color of the spectrum, which is to a 
slight degree diluted with white. The green color may be 
considered nearly correct as to hue, but deficient in power 
or lacking in strength, and slightly tinged with yellow. 
This deficiency in the color of the green of the ordinary 
spectrum is probably caused by a slight overlapping or 
diffusion of a greater amount of the red rays on one side 
and a smaller amount of the violet rays on the other side. 

An excess of illumination has a tendency to make a 
number of changes in the colors of the spectrum, such as 
making the violet more blue, the green more yellow, and 
the red also becomes more yellow when thus illuminated. 


Light the Source of Color | i 


For this reason the normal spectrum may be seen best with 
a medium illumination. 

Only a small proportion of the ether waves or ur.dula- 
tions is visible to the eye. Some of these waves are too 
long or too slow, as those of the infra-red, while others are 
too short or too rapid, as those of the ultra-violet. 

This may be demonstrated with an electric arc lamp 
rich in violet rays, by cutting out the red and green rays 
entirely, and a large proportion of the bluish-violet rays; 
this may be done with a strong violet-ray filter used in 
connection with a very pale-yellow filter. Now by observ- 
ing the remaining violet light through a solution of sulphate 
of quinine, which has the property of slowing down or 
lengthening the light rays or waves, we will perceive a 
much brighter violet than is the case when viewing the 
light without the intervention of the sulphate of quinine. 
This proves that when the ultra-violet rays are slowed 
down or lengthened, they become visible. We shall treat 
only of the visible rays in this book. 

The eye is supposed to be supplied with three sets of 
nerves, each more responsive to the action of one of the 
erand divisions of light than to the others. Thus, one set 
is acted upon mostly by the red rays, another set by the 
green rays, and another set by the violet rays, the com- 
bined action of all the rays producing the sensation of 
white light. 7 

The luminosity or brilliancy of the light has a great 
deal to do with the extended color action of the eye nerves. 


6 The Colorist 


For instance, in a normal or weak reflected light it is pos- 
sible that each color nerve is acted upon by only its own 
selective color. 

A wave action confined to only one of the sets of nerves 
would obviously produce the sensation of color that that 
particular set of nerves was sensitive to; likewise, the 
wave action on two sets of nerves will produce the sensation 
of the mixture of those two rays; for example, when the 
red sensitive and the green sensitive nerves are acted upon 
simultaneously, the sensation of yellow is produced, which 
is the resulting mixture of those two light rays. 

It is evident that the eye is primarily designed or con- 
structed for seeing white light, from the fact that when 
less than the three nerves are acted on at one time, the 
nerves so acted on become fatigued. This can be demon- 
strated by the following experiment. Place on a well- 
illuminated sheet of white paper a small patch of brilliant 
color, say red. After having allowed the eye to rest by 
closing the eyelids for twenty seconds or more, allow it to 
observe the color patch for a similar length of time. After 
having observed the color patch for a sufficient length of 
time, transfer the gaze quickly to another part of the 
paper, or quickly remove the color patch. There will now 
be observed in place of the red color patch, a similar form, 
but of a complementary color (blue). 

One explanation for this is that the color of the patch 
has fatigued the eye nerves which respond to its color, and 
' when the gaze is transferred to the white paper, the com- 


Light the Source of Color 7 


plementary color nerves to that of the color patch, not hav- 
ing been fatigued, respond more freely to the action of the 
white light reflected from the paper, thereby having the 
effect of tinting it with the complementary color of the 
patch, or producing a negative image. 

Another explanation is that tnis fatiguing action of the 
eye nerves has the property of calling up a sympathetic 
action of the nerves not acted on. This latter explanation 
gathers weight from the fact that the negative image so 
produced will have a more marked effect on a black surface 
than on a white one. 

The color of a so-called negative image of a 


Blue color is pale red. 


Green foe esicht-pink: 
Magenta ‘“ °° light green. 
Wellow. o> =. taint-violet. 
Violet 2 ee paler yellow: 
Red “<ereenish blue. 


On account of this peculiarity of the eye, the painter 
who wishes to fully appreciate the brilliancy of the hue or 
color he is working with must needs rest the eye frequently 
by looking at a color complementary to that with which he 
is working. 

This fact of the eye being fatigued, or having the prop- 
erty of calling up a negative image, plays an important 
part in the appearance of colors when placed beside each 
other, or juxtaposed, one color through the medium of the © 


8 The Colorist 


eye having an influence on and changing the aspect of the 
other. : 

This law may be expressed as follows: 

When two dissimilar colors (hues, tones, tints, or shades) 
ave juxtaposed, their dissimilarity 1s accentuated. 

If we consider white and black to be complementary, in 
the sense that blue and red or green and magenta are com- 
plementary, then we may say that the effect of juxtaposing 
two dissimilar colors or tones is to tint each with the com- 
plementary color of the other. 

For example, juxtaposing white and black has the 
éffect of making the black blacker and the white whiter. 
Juxtaposing a light gray and a dark gray has the same 
effect. Juxtaposing a green and a magenta has the effect 
of brightening both of the colors, as they are complemen- 
taries. 

Juxtaposing a blue and a gray has the effect of tinting 
the gray with a pale red, while the blue has the appearance 
of being lighter or darker, depending on the depth of 
the gray. | 

Juxtaposing a yellow and a red has the effect of tinting 
the red with violet, making it more crimson, and of tinting 
the yellow with blue, making it more green. 


CHAPTER II 
THE OLD IDEA OF PRIMARY COLORS 


HE theory known as the “ Brewster’’ theory, that 

Red, Blue, and Yellow are the primary colors, 

probably goes as far back in antiquity as any 

artistic color knowledge. The ancient Greeks had a palette 

of red, blue, yellow, white, and black, and probably green. 
According to this theory, 


(Red, 


The primary colors Were. ..........+++++eeee Blue, 
Yellow. 


, Orange, 
The secondary colors were........---+++++++- ) Green, 


The tertiaries were mixtures of all three in ; Russet, 
varying proportions. ......... eee rere eee ees | State, 


| Citrene. 

According to this theory a green color was such because 
it was supposed to consist of yellow and blue. This is 
essentially incorrect, as in reality blue and yellow both 


contain green. 
9 


Io The Colorist 


With this old theory artists and experts found it diffi- 
cult to locate the exact hue of red, yellow, or blue which 
could be considered the respective exact or fundamental 
hues of pure colors. Their yellows inclined too much 
towards either green or orange. This is easily accounted 
for when we consider that yellow is composed of green and 
red rays, and even a greenish yellow has red rays to reflect 
Lor nese ye: 

They could not decide on the proper blue because the 
blues contained either too much green or too much violet. 
Blue is composed of green and violet rays. 

Then again they could not account for the fact that a 
mixture of all three pigments did not produce white, as they 
supposed it should. It will be seen later on in this book 
that this should not be the case, and that pigment colors 
behave in every instance in accordance with scientific laws. 

This old theory of primary colors does not fit the scien- 
tific facts as ascertained in modern times, and has been the 
cause of most of the misconceptions generally held by prac- 
tical workers in colors. 

Another misleading proposition cheral taught in 
schools was that all colors could be found in the spectrum. 
As a matter of fact all colors are not found in the spectrum, 
a notable exception being magenta, a kind of crimson or 
purple pink, one of the primary colors of the subtractive 
Sec. 

It is within present memory that the Newtonian “Seven 
Steps’’ of color were taught our students, giving the impres- 


The Old Idea of Primary Colors t 


sion that they were distinctively principal or representative 
colors. These colors were given as ved, orange, yellow, 
green, blue, indigo, and violet. 

The orange and indigo are not principal or representa- 
tive colors, while crimson pink, or magenta, which does 
not appear on the list, 1s representative or fundamental. 

The orange may be mixed by the subtractive method 
with two parts of yellow and one part of magenta. The 
indigo color may be mixed with varying proportions of 
green and violet additively. 

Another very prevalent error caused by the old theory 
of primary colors is that green and red are complementary 
or contrasting colors. On the contrary an orange red and 
a yellowish ereen actually make a most pleasing harmony. 

A magenta and a pure green are contrasting colors; 
the magenta, however, should not be called a red, but rather 
a red purple. 


CHAPTER III 


THE SCIENTIFIC PRIMARY COLORS 


AVING in view the fact that light, as far as human 
H vision is concerned, naturally divides into red, 
green, and violet, and that the nerves of the eye 
are undoubtedly arranged to correspond or harmonize 
therewith, and that no other logical explanation will account 
for the various color phenomena, we can definitely decide 
that the true primary colors, the sources of all other colors, 
are ved, green, and violet. 

It is probable that what we call a primary color is 
such only in relation to the organ of sight, the eye, and 
has no such function with light itself independently. 

The points at which the spectrum represents the fun- 
damental color sensations, according to Clerk-Maxwell, are: 
Red, } the distance from C towards D; Green, ¢ the dis- 
tance from E towards F; and Violet, midway between F 
and G. 

These colors may be roughly represented by a scarlet 
red, emerald green, and a good artificial ultramarine blue. 

There being three methods of mixing or combining 


12 


The Scientific Primary Colors 13 


colors, two perfect methods, and one imperfect method, 
there are also two sets of colors capable of producing all 
other colors by combining or mixing by one or the other 
method.. These methods of mixing or combining colors 
may be named the additive method, the juxtaposit method, 
and the subtractive method. 

The additive method is used when we combine colored 
rays of light to produce a picture or combination of colors, 
as with the photochromoscope. The red, green, and violet 
set of colors, callea the plus colors, are used as the primary 
colors with the additive method. 

The subtractive method is used to combine colors by 
superposition of pigments, as in printing or lithographing. 
This is done by superposing the Yellow, Magenta, and 
Cyan Blue primaries, called the minus colors. The minus 
colors are complementary to the plus colors as follows: 


Plus Colors. Minus Colors. 
(Scarlet vermilion) ved. ...complementary to cyan blue. 
OL | ca Aa ~ ‘“ magenta. 
MESSE) VIO... ee *: ‘“ yellow (slightly 

orange). 


The juxtaposit (imperfect) method is used largely in 
the various methods of painting and in the new method 
of color photography brought out by M. M. Lumiere of 
France (in which the “ Autochrome’’ dry plate is used), 
also in the Joly and McDonough methods of color pho- 
tography. 


{4 The Colorist 


By the juxtaposit method the colors are blended or mixed 
by being placed side by side. 

The Red, Green, and Violet primaries, or plus colors, 
may be used to compound all other colors when used as 
rays of light, which constitutes the additive method of com- 
bining colors. For instance, if a ray of red and a ray of 
green light are projected onto the same white surface, that 
surface will appear to be yellow. Combining a ray of 
green and a ray of violet light will produce a blue color. 
Combining a ray of red and a ray of violet light will pro- 
duce a crimson-pink color, or magenta. — 

In other words the additive combination of any two 
of the plus colors will produce the complementary of the 
third (plus) color in the minus set of primary colors. Sim- 
ilarily, the combination of any two of the minus colors 
by superposition (subtractively) will produce the comple- 
mentary of the remaining minus color in the plus set of 
primary colors. 

‘Printing a transparent magenta Over an orange yellow 
on a sheet of white paper will produce a red color. Print- 
ing blue over yellow will produce green. Printing blue over 
magenta will produce violet. The same thing may be 
done in oil colors by glazing one of the minus colors over 
another. 

As a working hypothesis not, however, strictly accurate 
scientifically, one may assume that the ordinary white 
light is composed approximately of 

1 Red + + Green + 4 Violet. 


The Scientific Primary Colors 15 


The plus colors therefore may be said to each represent 
4 of white light. 


ple cle aa mee: 
Plus colors: Green, 4 
Violet, 4 
White, 3 


The minus colors may be said to each contain 2 of the 
elements of white light as follows: 


' Yellow = 3 Green+4 Red or $ White. 
Minus colors: | Magenta =} Violet +4 Red or 2 White. 
(C. blue =4 Violet-+4 Green or 2 White. 


Gray may be represented as follows: 
Red 34 + Green 4 + Violet 4 = 4 White. 


The combination of cyan blue and yellow by the sub- 
tractive method, that is, by superposing them as transparent 
pigments, may be represented in figures as follows: 


) 4G. 
ear 2 Yellow + { lav. 


see 


Cole Col 


or & Green + 4 Red + 4 Violet. 


The 4 Red and 4 Violet in this combination absorb 
each other, producing what may be called 4 Dark (or Black). 
The 4 Dark in turn has the property of Aine of the 


16 The Colorist 


Green, leaving as a net result 3 Green, the normal plus 
color. Or again, showing the method of cancelation: 


Rea PCy ag 
Peak os Bl 
Gu fb arf a 


£G.$F4G.4¥R.4+4V.=KG6.4+ 36. + Dark =} Green. 


Cle Cole 


The combination of blue and yellow by the juxtaposit 
method as exemplified in using Maxwell discs on a color 
wheel, or placing the colors side by side in small particles, 
may be represented in figures as follows: 


G. } ( G. ) 
Blue). 
R. } (Yellow) - | i (Blue) 


Col Col 
Cole Co|- 


In the juxtaposit method, only one-half of the super- 
ficial area being covered by each color, this fact may be rep- 
resented by dividing the above figures by 2 as follows: 

e ae 
(Yellow) + | ® nee \ (Blue), 


[4 


al o|- 


or 4G.+¢% R. +2 V. 


This sum may be divided into gray and green as follows: 
Subtract from it + R., 4 G., ¢ V., which equals a gray, leav- 
ing a balance of } Green. Therefore the juxtaposit method 
gives us $ Gray +% Green, or a gray slightly tinted 
with green. This makes evident the fallacy of using the 
color wheel as a standard or guide for the indiscriminate 


“, rr 


The Scientific Primary Colors i 


mixing of colors. It will be found that only those hues 
within 75 degrees of each other on color chart No. 2 can be 
combined on the color wheel to produce a result approxi- 
mating that obtained by the subtractive method. 

The combination of blue and yellow by the additive 
method may be represented as follows: 


ae Rees fed Gren} 

: Yell ; Bl 

«(een erent 
or 2G.+4 R. +3 V. 


As white is composed of 1 G., 4 R., + V., we may divide 
the above sum into white + 4 Green; therefore the addi- 
tive method gives us a whitish green when combining blue 
and yellow. 

The combination of green and red (plus colors) by the 
‘additive method may be represented by figures in the fol- 
lowing manner: (3) Green + (4) Red = @) normal Yellow. 

The combination of the plus colors red and green sub- 
tractively may be represented in figures as follows: 








Let white be rep- 
resented by. . $G.,WG., Re Re Vk Va 
Subtract from it (representing the 
by cancelation. Behe oh Ro Got: red and green). 
Resulting in... 1G,4R.+ 4% Dark, equaling a_ yel- 


lowish black. 


The above computation is based on the fact that both 
red and green absorb violet and absorb each other when 


18 The Colorist 


combined subtractively. We have then accordingly four 
cancelations, each producing an element of- dark, and the 
1 G. and 4 R. remaining forms a gray yellow which, added 
to the four elements of dark, will produce the above result 


—a yellowish black. 


CHAPTER IV 


THE ADDITIVE METHOD OF COMBINING COLORS 


S PREVIOUSLY stated, the plus colors are used 

A for combining colors when the additive method 

is used. There are two practical processes for 

using this method, both of which were invented by Mr. 
Pet elves. 

One of these is connected with the use of the photo- 
chromoscope, or, as Mr. Ives calls his invention, the 
“Kromskop.” In this instrument three photographic 
positives, made from what may be called three three- 
color negatives, are placed so as to reflect a _ single 
combined image to the eye. The light which passes 
through each positive is filtered through a colored glass 
which corresponds with the color of the screen or filter 
through which the negative was made. The colors of 
these glasses are respectively red, green, and violet, hes 
the plus colors. 

By an ingenious arrangement of transparent mirrors, 


these separate images are made to combine in the eyepiece 
19 


20 The Colorist 


of the instrument, and present a complete picture to the 
observer. 

The other invention of Mr. Ives is the triple-projection 
lantern, in which three colored rays of light are thrown 
onto a screen in register. All of these colored rays of 
light are modified, and the gradations and blacks are sup- 
plied with a positive, as in the Kromskop. With both of 
these instruments approximately perfect results may be 
obtained. 

On looking through a properly adjusted kromskop, 
without the positives being placed in it, white will be. 
observed; this is produced by the union of all three colors. 
By obstructing the light from the red glass, the color in 
the instrument will be blue, the combination of the green 
and violet. 

In the same way by obstructing the light from the 
ereen glass, magenta will appear, being the result of com- 
bining red and violet. Obstructing the light from the vio- 
let glass, we get the combination of the green and red, 
which is yellow. These same experiments may be carried 
out with the triple-projection lantern. 

With the additive method of combining colors, white is 
produced, and when blacks and grays are required, they 
must be supplied independently. This is done with these 
two instruments by interposing a photographic positive, 
so as to partially obstruct the light from each of the 
colors. 

It will be noted that the plus colors being the source 


The Additive Method of Combining Colors 21 


of all colors, so far as human vision is concerned, they are 
in fact elementary, and contain only one element of white 
light each. 

The minus colors being made up of pairs of the plus 
colors, each contain two elements of white light. 


CHAPTER V 


THE SUBTRACTIVE METHOD OF COMBINING COLORS 
WITH PIGMENTS 


HE minus colors are used for combining colors 
by the subtractive method. They are: 


Yellow, Magenta, and Cyan Blue. 

Probably the most practical way to combine the minus 
colors so as to secure the full benefit of each color-is 
the method commonly known as the three-color-printing 
process. 

While with the additive method it is necessary to supply 
the black independently of the colors, with the subtractive 
method the opposite is the case, and the white must be 
supplied independently. 

In other words the colors with the additive method 
will make white, but not black; the contrary is the case 
with the subtractive method, which will make black, but 
not white. 

With the three-color-printing process the white is of 
course supplied by the paper on which the combination of 
colors is printed. 


22 


The Subtractive Method of Combining Colors 23 


The great difference between the minus colors and the 
plus colors, which will be more fully brought out in our 
consideration of the subtractive and juxtaposit methods, 
is that the minus colors in each instance contain two of 
the elements of white light, while the plus colors contain 
but one. This will be clear from the following: 


Red is one element of wiite light. 


Green 
Violet «¢ ¢¢ «¢ ¢¢ ¢¢ 6¢ 


Yellow contains two elements of white light—red and 
green. 

Magenta contains two elements of white light—red and 
violet. 

Cyan blue contains two elements of white light—violet 
and green. 

Therefore when we print yellow on a sheet of white 
paper, we are absorbing but one ray of white light, namely, 
the violet, and reflecting the two rays,—red and green, to 
the eye. If we print a magenta over the yellow, we will 
then have absorbed or subtracted the green in the yellow, 
and a red will be the result. By printing cyan blue over 
the combination of magenta and yellow (red), we will then 
absorb or subtract the red or remaining light element, and 
black will be the result. 

Another difference between the plus and the minus 
colors is that the plus colors have the property of absorb- 
ing two elements of white light, while the minus colors 


24 The Colorist 


have the property of absorbing but one element of white 
light, thus: 


Remaining Elements 
Plus Color. of Light. 


Red has the power of absorbing green and violet. 


¢¢ 6 ¢¢ 66 ¢ 


Green red and violet. 


Violet shai 2 meine ‘i red and green. 


For this reason we may produce black by printing a 
plus color over a minus color or, vice versa, a minus color 
over a plus color. Thus we may produce black by printing 
violet over yellow, or the reverse, because yellow absorbs 
one element of light (violet), and violet absorbs two ele- 
ments of light, red and green (that 1s, yellow). 


Wine Calee Remainin g Element 


of Light. 
Yellow has the power of absorbing violet. 
Magenta pemmer a a green. 
Gyan: blicty2s ssi. eee - red. 


From the foregoing we can readily realize that the plus 
colors and the minus colors are what may be called com- 
plementary to each other, thus: 


Plus Color. Minus Color. 
Red is complementary to cyan blue. 
Greetuaes. ts ‘“ magenta. 
Violeta. fe ‘“ yellow. 


Note.—It will be understood, of course, that in super- 
posing colors subtractively, the covering color must be 
transparent, so as to allow the underneath color to exer- 


The Subtractive Method of Combining Colors 25 


cise its full absorbing power on the light of illumination. 
From the above it will be seen that printing yellow on 
white equals white minus violet; printing cyan blue on 
yellow subtracts the red from the yellow, leaving only 
the green element; superposing the magenta on the green 
has the effect of absorbing the green or remaining element. 

In other words, white minus violet minus red minus 
green equals black. White has, of course, the property of 
reflecting all colors to the eye, while black reflects practi- 
cally none. 

Again, to superpose magenta and cyan blue on white, 
- we get the following: White minus green (magenta) minus 

red (cyan blue) equals violet. | 

To superpose the plus colors subtractively, as in the 
three-color-printing process, black will result the same as 
with the minus colors, by reason of the complete absorption 
of the light elements. On the other hand, to project the 
three minus colors additively, as rays of light on the same 
white surface, white will result the same as with the plus 
colors, as all of the light sensitive nerves of the eye will 
ke acted on simultaneously. However, by superposing any 
two of the plus colors subtractively, we do not get a pure 
color, but a color mixed with black or gray. 

By superposing two of the minus colors additively, 
say yellow and magenta, we do not get a pure color, but 
a color mixed with white, a light or whitish red. 

It will be remembered that the eye is supposed to be 
constructed with three sets of nerves sensitive respectively 


26 The Colorist 


to the plus colors red, green, and violet. And when two 
of the plus colors are superposed subtractively, a larger 
proportion of the elements of white light is absorbed or 
subtracted, and not allowed to act on the sensitive nerves 
of the eye; this leaves a relatively smaller amount of light 
rays to act than would be the case were the minus colors 
to be used the same way. For example, when two of 
the minus colors are superposed subtractively, say yellow 
and magenta, the green half of the yellow is absorbed 
by the magenta, while the violet half of the magenta 
is absorbed by the yellow, each color absorbing what 
may be called one-quarter of the total light of illumi- 
nation, making in all one-half the light only, as com- 
pared with two-thirds of the total light in case of the 
plus colors superposed the same way. 

Hence the difference in purity of color between the 
two compounds superposed subtractively must be in 
favor of the minus set of primary colors. 

The same reason which makes for purity of color in 
the minus set when superposed subtractively, also causes 
a weakening or dilution of color when these colors are 
superposed additively. Each minus color being com- 
posed of two elemental rays of light, when they are com- 
bined additively, an excess of white light is introduced 
into the mixture. This of course is not the case with 
the plus colors, as has been explained. 

Another feature of the difference between the addi- 
tive and the subtractive method of combining colors may 


The Subtractive Method of Combining Colors 27 


be noted, as, for instance, in making color record or sepa- 
ration negatives for the additive and subtractive methods 
(kromskop and three-color-printing process), the same 
character of negative is not best suited for both methods. 
Good results in the kromskop may be secured only by the 
‘‘color-curve’’ system of color separation. In the three- 
color-printing process the ‘“‘pure-color’’ system cf photo- 
graphic color division gives the best results. In the 
‘‘color-curve’’ system the negative plates are made sen- 
sitive to a wider area of the spectrum; in fact the sensi- 
tive regions on the different negatives merge into each 
other on the spectrum. In the “‘pure-color’’ system 
the zone of sensitiveness for each color is more confined 
and does not overlap, as with the other system. 

An explanation of why this should be so will occur 
to. the reader, when it is remembered that in the krom- 
skop a composite or color picture is formed by three rays 
of light, while on a three-color print, with the usual 
method of observation by reflected light, we have at all 
times but one volume of illumination. We will also 
observe on mixing or producing a color with two ele- 
ments in the kromskop, such as any of the minus colors, 
that we do not obtain a saturated or full power color, 
but instead we get a color diluted with white. In other 
words, viewing a picture in the kromskop is practically 
viewing it in an abnormal or excess of light, as com- 
pared with the ordinary methods of viewing colored 
pictures. 


28 The Colorist 


This peculiarity is taken care of in the ‘‘curve’’ sys- 
tem of photography by the extension of the sensitive 
area, aS compared with the “ pure-color’’ system. This 
extension of the area or overlapping of the colors has 
the effect in the kromskop of interposing a partial obstruc- 
tion of the light in each element required for the mixtures, 
and in the three-color process, of too great an overlapping 
of the colors, giving a gray or flat result. 

On the other hand, with the pure-color method of 
photography in which the color sensitive areas on the 
photographic plate are not allowed to overlap, but are 
arranged so that the sensitive area for each color ends 
where the next color begins, it is possible to get a more 
perfect division of the colors for the three-color-printing 
process (the subtractive method). This method of sepa- 
rating the colors would, however, not be satisfactory for 
the kromskop (the additive method), as the combined 
picture so made would be deficient in grays, and the 
colors formed in the instrument by the various combi- 
nations (the minus colors) would be too much reduced 
with white. 


Ciel Wel b geaa | 


Peer LDAPOSIT METHOD WITH BOTH LIGHT AND 
PIGMENTS 


N THE previous chapters we have discussed methods 
| of combining where the colors were transparent 
and allowed to exercise their absorbing power 
over the whole area of the combination when superposed. 
The pigments ordinarily used by the artist, painter, 
lithographer, and printer are not as a rule sufficiently 
transparent to produce perfect results by the subtractive 
method. 

The artist on his palette and the lithographer on his 
slab, when mixing colors for painting and printing respec- 
tively, do so more or less by the juxtaposit method, 
using the minus colors for primary or basic colors. 

A good illustration of the juxtaposit method may 
be made as follows: Divide a two-inch-thick pack of 
white visiting cards in halves; paint the edge of one of 
the halves with vermilion, and the edges of the other 
half with a mixture of emerald green and gamboge; add 


just enough yellow to the green to make it a neutral or 
; 29 


30 The Colorist 


spectrum green, and when dry, interleave the cards so 
that the edge of the pack will be in alternating colors. 

If this pack of cards is placed under a weight and 
viewed from a little distance, it will appear to be of a 
dirty-yellow color, a yellow with a little gray added to it. 

We can also do the experiment with a color wheel or 
an ordinary spinning top (a Maxwell color top). The 
top should have a flat upper surface and arranged so 
that two Maxwell discs may be attached thereto. Max- 
well discs are made of paper of various colors, and are 
slit from center to circumference, so that when put 
together a part of the surface of each disc is exposed; 
they are joined at the slits by sliding them partly over 
and part y under each other. 

Let one of these circles of paper be painted vermil- 
ion and the other spectral green, the same as the cards. 
When this wheel or top is rapidly revolved, the colors 
will appear to be transformed into a gray yellow, much 
like the color of the cards painted with similar colors. 

Superposing the same colors by the additive method, 
a pure partially dilute yellow would be the result; 
superposing them by the subtractive method, a yellow- 
ish black or yellow brown would be the result. 

The juxtaposit method is not a perfect method of : 
combination when the result is viewed with only one 
volume of illumination, as it will not produce either a 
white or a black, it being necessary to supply both inde- 
pendently. 


Juxtaposit Method with both Light and Pigments 31 


When we mix two opaque pigments, we are in effect 
arranging the particles of each color side by side and 
neither color has the opportunity of exercising its full 
absorbing power over the full area occupied by the 
mixture. 

This statement applies of course only to pigments 
or colors that are opaque. To mix transparent pig- 
ments in the same way, a subtractive result is produced, 
because the colors over and under each other are each 
allowed to fully absorb the light of illumination. 

Pigments in ordinary use are either partially opaque 
or partially transparent; hence the method of mixing 
them is usually between the subtractive and juxtaposit 
methods, depending on their relative transparency or 
opacity. For example, take powdered red and green, 
dry colors, and mix them, and a result similar to that 
of the color top is obtained, that is, a gray yellow. Take 
the same colors, have them transparent, ground in oil, 
and mix them together; the mixture will have a yellow- 
ish black or brown color, the same as though the colors 
were superposed subtract vely. 

The new method of color photography devised by 
Lumiére is based on the juxtaposit method. Though 
this method gives surprisingly good results, the results 
are not as perfect as those secured by Ives with the 
kromskop. This is because the juxtaposit method is 
not as perfect a method of combining colors as the 
additive method used in the kromskop. The process 


R2 | The Colorist 


is, however, simpler, and for this reason destined perhaps 
to more popularity than the Ives method. 

Lumiére supplies the tone scale or blacks with a 
photographic positive. He uses the plus colors (some- 
what too much diluted with white) to produce the color 
values. This dilution with white makes it easier to 
simulate the white sensation than would be the case if 
the colors had their full value or power. The other aid 
in producing the sensation of white is that the pictures, 
being transparencies, are viewed by transmitted light. 
This method of viewing gives them the benefit. of an 
excess or large volume of illumination, and has the ten- 
dency of making what would ordinarily be a gray, 
comparatively, look like white by a kind of optical 
illusion or contrast. Therefore we may say that the 
additive method requires three rays of light of illumina- 
tion, the subtractive method requires one ray, reflected 
light, and the juxtaposit method to be at its best must 
have an excess or large volume of light of iUlumination, 
or we may say two rays, as compared with the 
others. 

If a good three-color print be made transparent by ~ 
waxing the paper or otherwise treating it, and is then 
viewed as a transparency, it will be found to be very 
weak in color. The blacks will appear gray and the 
colors diluted with white. This shows that only one 
volume of illumination should be used with the sub- 
tractive method. 


Juxtaposit Method with both Light and Pigments 33 


When two volumes of light are used to combine 
colors by the juxtaposit method, as in the Lumicre 
autochrome transparency, the plus colors are the proper 
or most desirable ones to use. 

On the contrary, when the light consists of but one 
volume of illumination, as when viewed by reflected 
light, as is the case with a painting or print, the minus 
colors should be used in order to secure the best effects. 

The combinations of color by the juxtaposit method, 
when viewed with two volumes of light, are much like 
those produced by the additive method, only lacking in 
power and brilliancy. 

The juxtaposit method may be said to be a midway 
method combining some of the qualities of both the addi- 
tive and subtractive methods. For instance, if we com- 
bine the plus colors by the juxtaposit method with one 
volume of illumination, we get a result approximating 
the additive result, with the addition of gray; and if 
we combine the minus colors in the same way, we get 
a result approximating the subtractive result, with the 
addition of gray or white. 

At the risk of verbosity we append the following 
definitions: 

An opaque color is one which will not reflect or trans- 
mit light from anywhere but the surface. Opaque colors 
usually have a brilliant appearance to the eye. Most 
colors that are transparent in thin layers are semi- 
transparent or translucent in thick masses, and look 


34. The Colorist 


dark or black by reflected light. The reason for this is 
that the light of illumination is permitted to enter the 
mass of color, but is interfered with on its return and 
not allowed to reflect back to the eye. The term trans- 
parent in this book is used only in a relative sense. 


GHiAxie LE Re VT 


BEAUTY IN COLOR 


EAUTY in color seems to depend largely on the 
B taste of the beholder, and this taste is largely 
a matter of civilization. 

The child or the savage prefers brilliant or glaring 
colors, while refined persons of mature years prefer 
colors more subdued. 

The barbarian will fairly revel in violent or garish 
colors, and it must be confessed that the barbarian 
sometimes achieves wonderful results. On the other 
hand, a Corot will paint an admirable symphony in 
green grays, or a Whistler a beautiful combination of 
tinted grays. 

The savage will decorate himself with glass beads 
and objects of brilliant colors, while civilized man con- 
tents himself with polished shoes as the only brilliant 
part of his attire. 

In an esthetic sense beauty in color consists of harmony 
of hue, or of analogous colors combined more or less with 
a great or limited varrety of tone. 

In this book we shall use the word hue to mean vari- 

35 


36 The Colorist 


ous pure colors not contaminated with white, black, or 
complementary colors. 

Tones will represent colors modified with white and 
black, or white and a complementary color. 

Tints will mean pure colors modified with white. 
Shades will mean pure colors modified with black. 

In pictorial art harmony of hue combined with 
ereat variety of tone is mostly used in successful pictures. 

In decorative art harmony of hue together with a 
limited variety of tone is considered in best taste. 

Sartorial art is much like decorative art, though in 
it some license is taken with the laws of harmony in 
order to enhance the effect of the complexion, hair, or 
eyes, as the case may be. 

Large areas of violently contrasting colors are in no 
sense beautiful. 

Contrast and discord are synonymous in regard to 
color as well as sound. 

Brilliant contrasts are only useful when they serve 
to accent a color composition, and should be used spar- 
ingly only for this purpose. 

We will sometimes see in pictures with a most pleas- 
ing color composition good results attained by what 
appears to be the use of contrasting colors. At first 
glance this would seem to upset our theory of harmony. 
It, however, brings us to the consideration of another 
law governing the use of contrasting colors and harmo- 


nious colors. 


Beauty in Color a7 


This law relates to the amount of space or area 
occupied by the contrasting colors as compared to the 
harmonious colors. 

A number of violently contrasting colors may be 
placed together in a harmonious composition, and a 
beautiful result will be attained if these colors occupy 
a relatively small space in proportion to the whole and 
are not too much scattered over the whole area. 

In this manner we really get an added result of the 
whole of these contrasting colors, by the juxtaposit 
method, forming the equivalent of a mixture of an equal 
amount of opaque pigments, usually making a gray or 
broken color. This sum total gray or broken color is 
the real factor to be considered in the harmonious color 
scheme. 

To illustrate this let us imagine a landscape made 
up of green-blue, green, and ereen-yellow colors, together 
with various tones of gray (harmony No. 11). These 
hues and tones should make a perfect harmony. Now 
let us introduce into the landscape, as accents, small 
figures clothed in vivid pinks, green, violets, yellows, 
blues, and reds. Let these figures be fairly small and 
well grouped, and the effect should be pleasing. 

It is understood of course that the laws of aerial per- 
spective must be observed in the introduction of the 
figures, which would give the natural effect of softening 
the colors. 

A simple way to determine which colors harmonize 


38 The Colorist 


is to place the two sets of colors, the plus and the minus, 
in a circle, allowing the two sets to alternate 60 degrees 
ApALt se Goce COLON CUAL NOs tes | 

Begin by placing the yellow at the top and the violet 
at the bottom, place red next to the yellow on the right, 
and magenta between the red and the violet. On the 
other side place green next to the yellow and cyan blue 
between the green and the violet. 

Beginning at the top and reading to the cone we 
will have the colors in the following order: yellow, 
red, magenta, violet, cyan blue, green. It will be observed 
that the contrasting colors are opposite each other, as 
yellow and violet, red’and cyan blue, green and magenta. 
Now let us imagine that. these colors gradually merge 
into each other. We may then regard as in complete 
harmony all colors that fall within an arc of 75 
degrees. 

We will find that the following general list of colors 
come within this range, and will in each case contain 
the hue elements of a harmonious color composition: 


Harmony No. 1, yellow green to orange (inclusive). 
2, yellow to red. 
3, orange to scarlet. 
4, red to magenta. 
5, scarlet -to purple. 
6, magenta to violet. 
7, purple to blue. 


Beauty 1n Color 39 


8, violet to cyan blue. 

g, blue to turquoise blue. 

ro, cyan blue to green. 

II, turquoise blue to yellow green. 
12, green to yellow. 


It will be understood of course that the author does 
not advocate the exclusive use of a two-color combina- 
tion in plain bright or full hues. Such combinations 
could be improved by gently merging or blending the 
colors into each other, or of lowering the tone of one or 
both of the colors, preferably of both. 

Varying to harmonious grays should be associated 
with all color combinations, either mixed, juxtaposed, 
or both, in order to produce the most pleasing results. 
The smaller the interval between the hues, the greater the 
need for their being associated, either by mixture or jux- 
taposition, with a greater variety of tones or grays, 
occasionally including even black and white. 

It will be understood that tones of color will be 
included under the general name of gray as used above. 
This will include such tones as yellow and red browns, 
dark and light tones of green, and in fact the full range 
of tones of what were formerly distinguished as the 
‘“‘tertiary’’ colors, russet, citrene, and slate. 

The above angle of division applies to pure colors 
or hues. These colors or hues, however, are seldom used 
in works of art of any description. The angle of divi- 


40 The Colorist 


sion may be enlarged as we lower the tone of the colors 
or dilute them with white. (We lower the tone by the 
addition of black, gray, or a complementary color.) 
Thus a low-toned green, yellow, and red will make a har- 
monious combination when comprising an angle of go 
degrees, instead of the angle of 75 degrees, of harmony 
No. I. 

It will be obvious that we may therefore continue 
to lower the tone and widen the angle until our zone’ 
of harmony will comprise the whole circle, and the colors 
will be a varied collection of grays or tones of color, or, 
with the admixture of white, a collection of varied tints 
of color such as we see in mother-of-pearl, or a com- 
bination of both. 

The introduction of white and black into a color 
composition, to produce the most pleasing results, should 
be governed by the law of variety. | 

This law may be indicated as follows: The colors or 
hues being divided into two classes, namely, the lumi- 
nous and somber, the luminous colors will comprise those 
extending from yellow green to yellow, red, and scarlet, 
inclusive, while the somber colors will include bluish 
cyan, blue, violet, and purple magenta. White, gray, 
and black are essentially of a tonal quality, and their 
association with colors being governed by the law of 
variety, white owing to its brightness will accord best 
with the somber colors, while black will give the most 
pleasing results with the luminous colors. Gray, being 


Beauty in Color AI 


neutral, associates well with both luminous and somber 
colors. 

To fully appreciate the law of variety, one has only 
to contemplate the difference between a newspaper half- 
tone illustration, which is lacking in amount and variety 
of gradations, and a carbon print from a well-timed 
negative, or a well-done mezzogravure print. In both 
the latter the charm and beauty consist in their large 
variety of tones or gradations. 

Besides the distinction of luminous and somber in 
colors, we also have the attributes of warm and cold, 
also advancing and retiring. Therefore the upper half 
of our circle may be variously denominated as warm, 
luminous, or advancing, while the lower half will be cold, 
somber, or retiring. 3 

Colors may also be divided into vzolent, consisting 
for the most part of the pure, luminous, and bright 
colors, and tranquil, consisting of tonal or cold colors. 

There is no doubt that civilized art finds expression 
in tranquil colors with large tonal variety, as compared 
with the violent colors and meager tonal effects of bar- 
barous antiquity. 

Chevreul, about fifty-five years ago, wrote a volumi- 
~ nous work on color and devised a system of color laws, 
which have been commonly accepted, without. question, 
by writers on, and instructors in, color ever since. 

Chevreul in common with all others, until very recent 
years, mistakenly adopted what is now known as the 


42 The Colorist 


‘Brewster’? theory, namely, that red, yellow, and blue 
are the primary colors. 

The colors generally selected as primaries by the 
followers of Brewster and Chevreul may be roughly 
stated as a yellow ranging from a pure chrome to a 
gamboge yellow. Scarlet red is fairly representative of 
the red. The blue could be anything from a pure 
ultramarine to a Prussian blue, the ultramarine blue 
enjoying the greatest popularity. 

Now if we will examine the color chart No. 2, in 
which the colors have approximately their true relation 
to each other in regard to position on the circle, we will 
see that the yellow and the ultramarine blue are nearly 
180 degrees apart, and the yellow and scarlet red about 
60 degrees apart. 

It is obvious that the true primary colors should be 
of an equal, or 120-degree, distance from each other on 
the circle. Having made the mistake of choosing the 
wrong colors for the primaries, Chevreul had to invent 
such inconsistent laws as ‘‘Harmony of contrast’’ of 
hues, colors, etc., to account for known beautiful har- 
monies. 

A contrast cannot be a harmony; the two orden: are 
utterly at variance; it would be as well to say a har- 
mony of discord. 

These mistakes naturally led to such confusion as to 
make it difficult to realize that beauty in color is really 
amenable to very simple rules. 


“ 


Beauty in Color 43 


It may be well to state here that the minus colors 
advocated in this book as the primary colors for the sub- 
tractive method are primary in the sense that they can- 
not be duplicated or mixed subtractively by any other 
colors.. This is of course true of the yellow advocated 
by Brewster. The Brewster scarlet red and _ ultra- 
marine blue (violet) can be duplicated by very pure 
minus colors subtractively. This fact would be enough 
in itself to demonstrate that such selection of primary 
colors is erroneous. 

We find, however, that when we place the principal 
colors in their relatively correct position in a circle that 
we are now able to determine with ease and certainty 
just which colors harmonize, and by using taste and 
judgment in making the selection for the particular 
object or use in view, it will be difficult indeed to make 
a mistake. 

The reader is referred to the directions printed (for 
the better convenience of the user) on the page preceding 
the color chart No. 1, as to its use for determining color 
harmonies. | 

In reviewing the color laws formulated by Chevreul, 
the law known as ‘‘The harmony of scale produced by 
the simultaneous view of different tones of a single scale 
more or less approximating,” the author wishes to state 
that the larger the variety of the tones of a single scale, 
the more beautiful the result must be. The “‘law’’ Is 
therefore without point. 


44 The Colorist 


The law relating to ‘‘Harmony of hues’’ is in accord 
to a great extent with the principles advocated in this 
book. } 

The same may be said of the ‘‘Harmony of a domi- 
nant colored light.” 

Another law, known as ‘‘The harmony of contrast of 
scale produced by the simultaneous view of two tones 
of the same scale very distant from each other,” con- 
flicts with the first law cited, and is contradictory in 
itself. | 

A better substitute for both of these laws would be 
‘“‘The harmony of variety of scale (or tones) produced 
by viewing a large or a small variety of tones.” 

The laws ‘‘The harmony of contrast of hues’’ and 
‘‘The harmony of contrast of colors’’ are probably the 
source of more errors in color harmony than any other 
known cause in the last half century. They are utterly 
at variance with truth. 

It will be well to remember that the mixture of 
black and white produces a cold or bluish gray, and such 
a gray will naturally harmonize best with the cold colors, 
violets, blues, and greens. A gray to harmonize best 
with the warm colors should be warmer than the mix- 
ture of black and white. 

Black is essentially a cold color, and when mixed 
with yellow has a tendency to produce a greenish shade, 
showing that it reflects more blue or violet light than 
any other. 


Beauty in Color 45 


This may be accounted for by likening the shorter 
wave lengths of the spectrum at the violet end to a 
heavy fly-wheel in motion, as compared with a light- 
weight wheel in motion, representing the longer waves 
of the spectrum at the red end. 

In comparing the two classes of wheels it will be 
noted that it is more difficult to increase the motion 
speed of the heavy one than the light one; on the other 
hand the motion of the heavy wheel persists much 
longer than is the case with the light wheel. In a similar 
manner the violet and blue colors are never the brightest 
colors of the spectrum in a good light, and they are 
less affected by variations in the light of illumination 
than the others. 

The reds and yellows, however, are very sensitive to 
variations in the light of illumination, as compared with 
the blues and violets. We find, therefore, that a blue or 
violet object is not as bright in a brilliant light as a red 
or yellow object, and we find also that the blue- or violet- 
colored object will retain its color less impaired, when 
subjected to a very weak light of illumination, than the 
red or yellow. 

Black is usually represented by pigments or sub- 
stances which reflect very little light, and it is natural 
_ to suppose, would reflect that part of the light which has 
the greatest inertia, that is, blue or violet, and to a lesser 
degree green. 

It follows then that artists, in painting sunny land- 


46 The Colorist 


scapes, will keep their reds and yellows very bright and 
luminous. In evening or dimly illuminated scenes they 
will make the greatest alteration in the brightness of 
the reds’and yellows, rather than the blues and violets. 


CHAPTER VIII 


HARMONY VERSUS CONTRAST OF COLOR 


r “MO SAY that we have good grounds for believing 
that the color sense and an interest in color were 
developed in some of the earliest forms of life on 

this planet of ours, and that this development was the 

actual cause of the growth of color in many instances 
in the vegetable and animal kingdoms, would probably 
astonish some of our readers. It is now generally 
believed among scientists that the only terrestial colors 
in evidence before the development of any living organ- 
isms consisted, with few exceptions, of foliage green, dull 
yellow browns, representing decayed foliage, the grays 
of rocks, and the various dull yellow, red, and brown 
earth colors. None of these colors had, until compara- 
tively recent or civilized times, any attractiveness for 
living organisms, and presented a somewhat monotonous 
appearance. With the advent of insect lite; we next 
find the plants which depended on insects for the dis- 
tribution of their fertilizing pollen, using color to attract 
insects to the store of sweets produced by the plants for 


47 


48 The Colorist 


their allurement, and naturally the colors thus used would — 
be brighter than the surrounding mass of greens and dull 
earthy colors. 

The association of color, and gradually bright color, 
with food by these insects or animals obviously led to a 
liking for color on the part of the animals, and in con- 
sequence the plants displaying the brightest colors were 
better fertilized by the living creatures and were able to 
outgrow their rivals that displayed less brilliant colors. 

It will be observed that the function of the bright 
color in the plant was not esthetic in its nature, but 
consisted only in the property of attracting attention 
from a distance, the animals meanwhile learning to asso- 
ciate the bright colors of Nature’ with food. This fact 
probably accounts for the taste of the child, savage, or 
_ barbarian for brilliant objects, the taste being inherited 
from our early progenitors who were accustomed to 
associate such objects with the food they gathered, 
whether it may have been honey from an attractive 
flower for the earliest form of insect life, or the various 
bright-colored fruits for prehistoric man. These bright 
colors of the plant life frequently consisted of colors 
that contrasted with their surroundings, contrasting 
colors having the property of attracting attention to a 
far greater degree than harmonious-colors; and we will 
find at the present time that many of those plants or 
flowers which supply the sweet juices to our honey- 
seeking insect life are decorated with brilliantly con- 


Harmony versus Contrast of Color 49 


trasting colors; many of the fruits prized by man are 
also distinguished in the same way. 

The beginning of the appreciation of the esthetic 
value in colors may .be said to start from the acquire- 
ment of colors by the various forms of animal life for the 
purpose of sex attraction in mating; here the principal 
reason for the use of color was not especially to attract 
attention from a distance, but to please by the beauty 
of the color combination itself; these combinations show 
a great and beautiful variety when their choice was not 
restricted by fear of attack on the part of the animals 
acquiring them, or restricted on the other hand by a 
life spent mostly in darkness. Animals or insects which 
are able to live in the air, and consequently do not 
need concealment from a possible enemy, have developed 
the brightest and most pleasing, color combinations; con- 
versely, those that live in darkness are usually of a dull 
monotonous color, while those animals requiring con- 
cealment usually adopt the colors of their natural environ- 
ment. Many of the animals of prey show exquisite 
combinations of color which lend themselves to con- 
cealment, as well as beauty. These color harmonies 
assumed by the various forms of animal life, for the 
sake of beauty or attractiveness alone, are for the most 
part very charming, and could not be improved by man- 
kind of the highest state of civilization. 

Nature, however, cannot at all times be taken as the 
standard or ideal for art, in either form or color, but she 


50 The Colorist 


does not make many serious mistakes, even in the con- 
trasting colors of flowers, which, as we have already 
pointed out, were primarily designed to attract atten- 
tion. The pink color of the rose offers a vivid contrast 
with very bright green foliage, and Nature, which seem- 
ingly is always striving after the true and beautiful, 
tries to mitigate the sin against harmony in the use of 
pink and green by toning the rose leaf to a very dark or 
gray green. Nature also endeavors to make amends 
for the pink-and-green combination by the wonderful 
variety of gradations in the pink tints of the rose, than 
which there could be nothing more to be desired in the 
beauty of the variety displayed. 

Another fact to be taken into consideration is that 
the color of the rose in its natural sylvan surroundings 
should not be considered as a part of the general har- 
monious color scheme, but merely as an accent to empha- 
size the harmony. 

Man being a reasoning animal, as distinguished from 
the animal world with instinct only, has not developed 
the instinct for color to its fullest extent, and in conse- 
quence the esthetic taste for color has been developed 
slowly and by educational means. Primitive men, as 
well as children, have of course the instinctive love for 
bright colors, being inherited no doubt from the associa- 
tion of bright colors with food; we find this love for 
bright color exemplified in the colors used by the ancient 
Egyptians, Assyrians, and many of the present wild 


Harmony versus Contrast of Color i 


tribes of Indians and Africans. The gaudy colors used 
by these peoples were due partly to a lack of cultivated 
taste and not to the fact that the variety of pigment 
colors they possessed was limited. 

With the advance of civilization, a superior esthetic 
color sense was developed, due to the better educational 
facilities and larger range of pigments available; for 
example, the early Japanese produced some very beau- 
tiful color schemes which were mostly copied from 
Nature. Non-esthetic mankind is, however, likely to 
make mistakes in the use of color schemes from Nature, 
when selected without due consideration, as in the 
case of the pink-and-green combination of the rose and 
rose leaves, a favorite combination with the Japanese, 
which is essentially a bad combination inasmuch as 
pure green and pink make a violent contrast, and con- 
trasts are not in themselves beautiful; the Japanese, 
however, recognized the beauty of the rose and rose 
leaf, which they failed to analyze; their reasoning could 
be summed up in the thought that the rose and its green 
leaves are beautiful, therefore we shall have rose- and 
green-color combinations. The fact is that the beauty 
of the rose and its leaves is not due to the contrast of 
color at all, but in spite of the contrast, the beauty 
depends on the singularly great variety of tints in the 
rose color, and on the green leaves being so toned down 
with gray as to make a near approach to harmony. 

The appreciation of the beauty of color harmony is 


o2 The Colorist 


one of the certain indications of civilization, just as 
much so as the appreciation of harmony in music indi- 
cates the same thing; the child or the savage likes 
noise pure and simple, as well as bright, contrasting, or 
gaudy colors, while the great colorists of modern times, 
as well as the great musicians, love harmony above all 
things. 

To sum up we will find that Nature, when it develops 
a color scheme with only its esthetic beauty in view, 
does so invariably in harmonious colors; when  con- 
trasting colors are used it is for a purpose aside from 
beauty alone. Man in his highest development comes 
to appreciate beauty in harmony in the same way as 
Nature does, and uses contrasting colors only to accentu- 
ate or emphasize a harmonious color scheme, and in 
the best instances only sparingly even for this purpose. 
On the other hand, crude, glaring, or contrasting colors 
are a sign of primitive man, showing a lack of develop- 
ment in color appreciation. Almost any butterfly or 
bird will give us a beautiful lesson in color harmony, 
while the ancient Egyptian, the present savage, or the 
child can scarcely be relied upon for good taste in color. 


CHAPTER IX 
erect balls BT Pel 


N THEORY the artist should be able to use three 
primary colors exclusively on a white ground, 
namely, the minus set, and use them in accord- 

ance with the law for the subtractive method. In 
order to do this, however, the colors (or pigments) would 
have to be very transparent, and the first applications 
of color or pigment would have to dry sufficiently so as 
not to disturb or sully the color over it. 

This cannot, however, be realized in practice by the 
painter as easily as may be done by the three-color- 
process printer. 

The pigments of the painter are not as transparent 
as the process inks used by the printer, and the painter 
necessarily applies his pigments much thicker from the 
brush than is the case in printing. Nor is it so con- 
venient for the painter to allow the colors to dry between 
their various applications, as is the case with the printer. 

In reality we find that, owing to the quality of the 


pigments, and for the sake of rapidity and directness, 
| 53 


54 The Colorist 


the painter is using the juxtaposit method far more 
than the subtractive. Therefore the palette should be 
arranged so as to produce the best results by the juxta- 
posit method. In theory this would comprise the fol- 
lowing pure colors (both plus and minus primaries): red, 
green, violet, cyan blue, magenta, yellow, white, and 
black. 

The available pigments do not, however, lend them- 
selves to this ideal arrangement. A compromise must 
be effected by using the best practical pigments that 
conform most closely to the theory. A good selection 
would be: Lemon yellow, medium cadmium yellow, 
English vermilion, cadmium reds, rose or crimson madder, 
French ultramarine or permanent blue, Prussian blue, 
emerald green, black, and white 

The above colors are necessary, and the following are 
useful additions: Pale and orange cadmium, yellow ocher, 
raw sienna, raw umber, light red, Indian red, burnt sienna, 
burnt umber, brown madder, burnt umber, and terre vert 
(green) | 

Black will not be necessary with the “useful addi- 
tions,’ as burnt umber and permanent blue, as well 
as other combinations, make a superior substitute. 

Before going into the best methods of mixing these 
pigments, we will consider a peculiar quality possessed 
by some pigments, namely, ‘‘Dichromatism.”’ 

This is the quality possessed by some pigments of 
reflecting two colors to the eye. This is noticeably the 


A Full Palette (sis 


case with Prussian blue, which will incline towards 
green in its lighter tints and towards violet in its 
full hues. A good vermilion will graduate from an 
orange to a pink in its light tints. All transparent yel- 
lows are more or less dichromatic, ranging between orange 
and green hues of yellow, depending on their thickness — 
or thinness of application. 

Pigments with the dichromatic quality are more 
desirable to mix colors with than non-dichromatic pig- 
ments. Conversely, the non-dichromatic pigments are 
best for the printer or lithographer. Dichromatic pig- 
ments will make the most brilliant combinations, but 
on the press they require more care in order to print the 
sheets evenly, as slight variations in the amount of color 
applied will alter the hue on the printed sheet. 

After carefully considering the subtractive and jux- 
taposit methods and their limitations, we naturally 
conclude that the best method of mixing a hue of color 
is to start with the nearest pure color and modify it, as 
required by its nearest neighbor or closely related color 
in the direction of the proposed modification. This is 
exemplified in the following partial list: 

To mix a yellow green of greatest purity, it will be 
best to modify emerald green with lemon yellow, or for 
a blue green modify it with Chinese blue. 

It may be said here that emerald green, although 
our most brilliant green, is somewhat lacking in power 
(diluted with white), and it inclines a little too much 


56 The Colorist 


towards blue. The ‘‘spectrum’’ green is a slightly yel- 
lowish green. To make violets and purples we will find 
permanent blue and rose madder the best, although 
Chinese blue produces almost as good a result as _per- 
manent. blue, largely on account of its dichromatism. 

We could dispense with permanent blue much more 
easily than with Prussian blue, permanent blue not being 
suitable for pure green. 

To make an orange it will be obvious that vermilion 
and an orange yellow will be better than vermilion and 
lemon yellow. For a true red, vermilion and a little 
rose madder will be most satisfactory. These mixtures, 
or the pigments as we buy them, may be altered by the 
addition of white for tints, or a complementary color for 
tones, or a black for shades. 

In the above we have given no consideration to the 
qualities of opacity and transparency in pigments, these 
being so obvious and too well known to need discussion. 

We would suggest here to the student or beginner 
in painting who desires to secure perfect. harmony in his 
work, to limit his palette to the colors shown on the 
color chart No. 1 for any particular harmony which 
will accord best with the picture he desires to paint, 
making only a sparing use of the colors not shown on 
the chart for mixtures and accents. | 

Since this chapter was written for the first edition of 
“The Colorist”, the author has had the pleasure of read- 
ing the very valuable and instructive books: “Materials 


Pe UL niearette C7 


for Permanent Painting”, by Dr. Maximilian Toch, and 
“Artists Pigments” by F. W. Weber—(D. Van Nostrand 
Company, New York), and in accordance with the infor- 
mation contained therein as to the permanency of pig- 
ments, the list of colors for “The Full Palette” in this chap- 
ter has been revised as follows: 

Permalba, white perfectly permanent under all 

conditions. 

Zinc White. 

Ivory Black. 

Zinc Yellow. 

Cadmiums, Pale, Medium, Deep, Orange, Scarlet, . 

Red, Deep Red. 

Yellow Ochre. 

Raw Sienna. 

Raw Umber. 

Burnt Sienna. 

Burnt Umber. 

Alizarin Crimson. 

Vermillion. 

Light Red. 

Venetian Red. 

Indian Red. 

Viridian or Emeraude Green. 

Terre Verte. 

Cobalt Violets. 

Permanent Violets. 

Permanent Blues—Artificial Ultramarines. 

According to the above mentioned authorities, the 


58 The Colorist 


above colors are permanent and may be mixed indis- 
criminately without harmful result.. 

They have to a great extent, all of the good qualities 
required in pigments for artists’ use. 

The principal changes from the list of colors in the first 
edition, are the substitution of Zinc Yellow for Lemon Yel- 
low, the former being a cheaper and also a reliable color. 

The substitution of Viridian for Emerald Green; the 
hue of Emerald Green can be closely approximated by 
adding a little Zinc Yellow to the Viridian. 

To make the Palette complete, however, we will need 
two other colors, namely, Alizarin Crimson (which the 
author suggests in place of Rose Madder, the former being 
more powerful and much cheaper) and ans Prussian Blue 
—as in the list in the first edition. 

Both of these colors are permanent when used alone, or 
with a certain restricted set of colors from the above list of 
permanent colors. They may not, however, be used with 
all of the above colors if absolute permanency is desired, 
but this need not prevent their use where they are neces- 
sary, providing they are used in accordance with the fol- 
lowing directions: 

The Alizarin Crimson is an artificial Madder-Red (near 
a Magenta hue), but identical in composition with the 
natural madder, and is permanent when used alone or with 
the following colors: 

Permalba (white). 
Vermillion or Cadmium Red. 
Permanent Blue. 

Ivory Black. 


Awbauli Palette 59 


These are, in fact, the only colors with which the Mad- 
der or Alizarin color must necessarily be used. Some very 
tempting combinations which are permanent may also be 
made as follows: 

Alizarin Crimson, Permalba (white) and Indian Red. 

if ¥ 5 i “ Burnt Sienna. 
i e: y: 3 “ Burnt Umber. 

(Dr. Toch recommends the use of this color as a glazing 
color only). There should never be any occasion to use this 
pigment with a Yellow of any description: adding a pure 
Yellow to Alizarin Crimson or Rose Madder would pro- 
duce a color similar to Vermillion,—which requires no 
substitute. The Alizarin Crimson, or in fact, any Madder 
Red, should be used only to produce Pinks and Purples, to 
modify Vermillion towards Purple, and to modify Perma- 
nent Blue toward Violet or Purple. 

Prussian Blue is essentially the blue for landscape greens 
and sunny skies; it should, in fact, be used for practically 
nothing else. The following colors may be safely used with 
Prussian Blue, viz.: 

Permalba or Zinc White (but not a Lead White) ; 
Zinc Yellow. 

Cadmium Yellows and Reds. 

Yellow Ochre. 

Raw Sienna. 

Raw Umber. 

Terra Rosa. 

Venetian Red. 

Indian Red. 


60 The Colorist 


Burnt Sienna. 
Burnt Umber. 
Permanent Blue. 
Ivory Black. 

The Prussian Blue may, of course, be mixed with any 
or all of the above pigments without harm to the perma- 
nency of the mixtures. 

Upon careful examination it will be found that all of the 
desirable results may be obtained with these permissable 
colors. 

A new and very desirable pigment has lately been added 
to the list of artists’ colors under the name of Cadmium 
Red. This color will take the place of and is better than 
Vermillion for most purposes. This color is very brilliant 
and has greater tinctorial power. 

The author would recommend to every artist and 
serious art student, a thorough study of Dr. Toch’s book 
and F. W. Weber on “Artists Pigments” on account of 
the wealth of scientific and practical information contained 
therein, in reference to the permanency and drying of pig- 
ments, the cracking of pigments and varnishes and the pre- 
vention thereof, as well as methods of restoring pictures. 


GHARPEER =x 


THE PROPER WAY TO BLEND OIL COLORS FOR CLEAN, 
| LUMINOUS EFFECTS 


HE flesh colors in portraits or figures are admit- 
tedly hard to paint successfully. One reason 


may be that the observer is more likely to be 
well informed as to its appearance, and consequently 
more than usually critical. 

Velasques was eminently successful as a painter of 
flesh. He probably stands unequaled and in a class by 
himself in this regard. Of him it has been said: ‘‘He 
dipped his brush in light and air and drew it across 
the canvas, his genius making a wonder of glowing, 
yielding, life-like quality of his flesh tones.” 

Some of the old masters of the Italian school, with 
their secret (?) method, also painted flesh tones with 
great skill. 

The author does not share the belief that there is 
any magic or anything out of the reach of the average 
painter with a thorough knowledge of color in the work 
of the old masters. 


Flesh colors in chiaroscuro contain many colors that 
61 


62 The Colorist 


are complementary to each other, such as pink and green, 
red and blue, etc. These colors, as we know from our 
consideration of the subtractive and juxtaposit methods, 
will produce when blended and viewed by reflected 
light various degraded colors, or colors mixed with gray. 

In a painting these colors as pigments must merge 
into each other, and to be successful or look clean, 
bright, and glowing, this tendency to produce gray by 
admixture must be overcome. 

On examining the work of some of our best modern 
painters, it will be noticed that they have not succeeded 
in entirely overcoming this difficulty. 

If we will consider that by the additive method the 
combination of red and cyan blue produces white, and 
the combination of green and red produces yellow, while 
these combinations by the juxtaposit method produce 
gray and yellow gray respectively, we will have found 
the key to the solution of the problem. 

If in the model red and blue are found blended, they 
will be blended in the model with rays of light (or the 
additive method). Therefore, when we imitate the model 
with paint (by the juxtaposit or the subtractive method), 
we must imitate the action of light by placing white, 
the additive combination of the colors, between them, 
and allow them to blend into the white instead of into 
each other. For the same reason when we wish to blend 
red and green, we must place yellow between them as the 
blending color. 


Proper Way to Blend Oil Colors | 63 


This principle will hold good for the blending of all 


complementary colors in painting. 
A partial list of these blending colors may be shown 


as follows: 


To blend red and blue (cyan), use white. 


eee ee, ted and green, ‘* yellow. 

fee eo ored:and violet, ‘* magenta. 

“eC S* yellow and violet, ‘* white. 

7) * ‘green and violet, ‘« blue (cyan). 
fee ereen and magenta, “° white. 


Colors more closely related to each other than the 
above, or .colors within 75 degrees of each other on color 
chart No. 2, will blend into each other without the ten- 
dency to produce gray or muddiness. 


CHAPTER TX] 


COMPLEMENTARY COLORS IN SHADOWS 


HE blending of the complementary colors natu- 
rally brings to mind the thought of comple- 


mentary shadows. It is the belief of the 
author that a careful analysis of the reason for comple- 
mentary shadows will correct some of the exaggerated 
notions on this subject held by modern artists. 

When we look at a landscape in sunlight, we will 
observe that the lights are yellow and the shadows are 
blue with a violet tinge. Sunlight produces the yellow 
lights, while the blue in the shadows is supplied by dif- 
fused light, which is of course tinged with blue from 
the atmosphere. These shadows are tinged in turn by 
the nerves of the eye, which call up the complementary 
of the brilliant sunlight color, which is violet. 

The shadows will therefore appear tinged slightly 
with violet. In trying to represent this effect on can- 
vas, our lights, being a non-luminous pigment and not 
possessing the power of sunlight, will not call up violet 


in the eye to a sufficient degree. We must therefore 
ye 


Complementary Colors in Shadows 65 


add violet to the color of the atmosphere in the shadows, 
in order to successfully simulate the effect of sunlight. 

On a ‘‘gray day’’ we do not have the influence of 
the sun to produce the violet action in the nerves of 
the eye, as mentioned previously, and the atmosphere, 
being charged with more moisture, reflects a white or 
neutral color. We therefore have a different color 
proposition to deal with. It will be found that on a 
“oray day’’ the eye alone is responsible for any com- 
plementary colors which may appear in the shadows. 
Therefore it will be correct to paint a brilliantly colored 
object with shadows tinted very slightly with its own 
complementary color, while neutral objects will be best 
painted neutral in the shadows. 

In the studio illuminated with diffused north light, 
on a clear day the lights partake of the color of the 
atmosphere and are tinted blue. This dominant light 
is the one which exerts the greatest influence on the 
color of the shadows, by calling up its own complemen- 
tary in the eye. The complementary color of atmosphere 
‘blue is an orange red. ; 

A particularly brilliant object will also have an indi- 
vidual effect on the eye, often overbalancing the effect 
of the dominant blue illumination. For example, if we 
examine a piece of red woolen goods in such a condition, 
we will find the lights, owing to the additive addition of 
the atmospheric blue, to be whiter or inclined to pink. 
The shadows will appear to be somewhat neutral in 


66 The Colorist 


color, owing to the addition of the complementary color 
(blue) of the goods by the eye. The reflected lights are 
of course, as always, a lower-toned color of the goods, 
which in this instance is red. 

The foregoing will bring us to the realization that there 
is no set rule for the complementary color of shadows 
which will apply under all conditions, and also that the 
artist, by a proper regard for the scientific principles 
governing the complementary color shadows, will be 
better able to render the various effects of strong or 
dominant illumination or weak and ineffective illumi- 
nation. 


CHAPTER XII 


SURFACE TEXTURE IN PAINTING 


HEN we observe a solid object of dead color- 
\ \ ing, say a brick, an object that is without 
eloss, we instinctively feel that our power of 
vision cannot penetrate the object or go beyond it. We 
will find by examination that the object has the follow- 
ing properties or qualities which give us this impres- 
sion, namely, Granularity of Surface and Opacity. The 
painter desiring to imitate such a surface will naturally 
have recourse to an opaque pigment applied so as to 
have a granular surface. A good example of this would 
be water-color vermilion, white, and black applied to 
a rough paper to represent a brick. Suppose we exam- 
ine a brick house in the distance; we will find the bricks 
subject to modifications of color, due to the atmosphere 
and light of illumination, but they still retain their 
opacity and granularity of surface. 

If we place the brick in shadow, we will observe that 
it has lost its appearance of granularity, but still retains 
its opacity. Representing it in this condition, the artist 

67 


68 The Colorist 


will still use an opaque pigment, but smooth the surface 
or texture of his pigment, making it partially or dull 
polished. If we examine a brick thrown into a clear 
stream of water, we will then see the brick behind a 
transparent or glossy material which the painter could 
represent with a glaze or tinted varnish, preferably on a 
smooth surface. 3 

It will be seen then that we have the following quali- 
ties of pigment and of surface to deal with in painting: 
Opacity and Transparency of pigment, with Granular, 
Smooth, Polished, or Glossy surfaces. 

The pigments may be conveniently divided into 
Opaque, Semi-opaque, Translucent, and Transparent. 

Many otherwise excellent oil paintings have what 
may be called a ‘‘painty’’ appearance, due partially to 
the lack of granularity of surface and juxtaposed coloring. 
(Juxtaposed coloring is considered in the next chapter.) 
Water-color paintings as a rule have more atmosphere, 
or a lack of ‘‘paintiness,’” owing to their granularity of 
surface. That this paintiness is not an inherent fault or 
quality of oil paintings is-readily seen by examining 
the work of Whistler and some other eminent artists. 
Whistler took great interest in, and pains with, the sur- 
face texture of his oil paintings, applying thereto a 
keen appreciation and more than usual knowledge. 

The application of the principles governing the manip- 
ulation and use of surface texture is so obvious that but 
few remarks need be made on the subject. 


Surface Texture in Painting 6g 


Generally speaking, solid or opaque objects when 
near and well lighted require opaque pigment and gran- 
ularity of surface. The same in the distance require 
the granularity of surface, but a semi-opaque or trans- 
lucent pigment may be employed to show the inter- 
vening atmosphere. Opaque objects in shadow will 
require a smooth or glossy surface, and the range of 
pigment may be from opaque to transparent, depending 
on the depth of the shadow. As a rule shadows should 
be smooth or glossy, while well-lighted objects should 
have a granular surface. 

Semi-opaque or semi-transparent substances, such as 
flesh in portrait or figure painting, can be well repre- 
sented by a translucent pigment, Or, better still, by a 
transparent pigment over an opaque ground. 

In the same way a distant haze presents a view of 
distance through a translucent veil or fog, and may be 
represented on canvas in the same way by scumbling an 
atmospheric or fog color over objects in the distance 
painted in nearly normal colors. ; 


CHAPTER XIII 
THE PROPER COLORS FOR AERIAL PERSPECTIVE 


T IS a well-known fact that a solid, homogeneous 
mass of color is not as pleasant to the eye as the 
same color made up of particles of different colors. 

This may be tested experimentally with the cards 
colored red and green, mentioned in the chapter on the 
juxtaposit method of combining colors, by contrasting 
the cards with a solid color of the same hue and tone. 
The juxtaposit mixture of the cards seems to have more 
lite and perhaps more of a luminous and _ translucent 
appearance. 

A possible explanation for this is that the juxtaposit 
method gives the eye a more thorough notion of heat 
and light vibrations than does the solid mass of color. 
This would suggest that flesh tints could be represented 
better by the juxtaposit method than by using a solid, 
homogeneous color. 

The application of pigment to canvas by the juxta- 


posit method has been practised considerably by mod- 
‘ 70 


The Proper Colors for Aerial Perspective 71 


ern artists of the impressionist school. Some paintings 
by Monet, for example, represent luminous atmosphere 
admirably, even though he used the plus colors to 
do it with, when the minus colors answer the purpose 
better. | 

The best application of the juxtaposit method of 
placing colors on canvas in pictorial art is undoubtedly 
their application by this method for painting distance 
and light or luminosity. 

The eye when looking at a distant object is impressed 
by a large variety of light rays or waves. Therefore 
when we wish to simulate this effect on canvas, we should 
adopt all means to impress the eye with the largest 
variety of light rays or waves. 

There are three distinct ways of doing this: First, by 
using a granular surface, which breaks up the light into 
brilliant and subdued particles. Second, the use of the 
juxtaposit method of applying the pigments, which adds 
to the variety of light rays. Third, the use of the minus 
set of colors, because they contain two elements of light 
each, as compared with the plus set, which contain only 
one ray or element of light each. 

While luminosity either near or far is best achieved 
by a granular surface together with the minus colors 
applied in juxtaposition, the reverse is the case with 
shadows and receding effects. In the case of shadows 
and receding effects, it will be found best to use a smooth 
surface and transparent pigments applied either sub- 


72 The Colorist 


tractively by glazing one over another, or by the juxta- 
posit method, using at the same time the plus colors on 
account of the retiring quality they possess through 
their property of absorbing two elements of light and 
reflecting but one element. 

It is not to be denied that it is far easier to say apply 
pigments to canvas by the juxtaposit method, than to 
do so. At the present time there is no satisfactory or 
easy way for doing this. 

The method usually adopted by artists is to labori- 
ously apply the pigments in small touches with a small 
brush. We might suggest that one way to overcome 
the difficulty would be to grind the pigments very 
coarse, so that their separate particles when mixed 
would be apparent to the eye on close observation. It 
would be easy to conceive that pigment ground so that 
its particles were no smaller than bird-shot should, 
when mixed, produce a beautiful effect when viewed 
from the proper distance. | 

A method of juxtaposing pigment on canvas, prac- 
tised with success by the author, is as follows: A thick 
coat of opaque pigment of suitable color is first applied 
evenly to the canvas, then broken up into little eleva- 
tions and depressions by repeatedly pressing or jabbing 
the bristle ends of a stiff hog-hair brush into the pig- 
ment. ‘This is allowed to dry and then color or pigment 
may be juxtaposed on it by dragging a sparsely 
charged brush over it. In this way the last applica- 


The Proper Golors for Aerial Perspective 7m 


tion of pigment may be made to cling to the upper 
surfaces of the little elevations only, presenting a 
simultaneous view of the two applications of pigment or 
color. 


CHAPTER XIV 


ART OR- TRUTH IN PAINTING 


CCORDING to the best modern ideas on the 
nN subject, pictorial art should be the expres- 
sion, to a large degree, of the imagination of 

the artist. 

Literal truth in art is unattainable and undesirable. 
Under the very best conditions paint is sadly limited in 
its ability to simulate light or luminosity. For exam- 
ple, no artist or painter can give anywhere near an ade- 
quate idea of his impression of the sun or moon, even 
when not at its brightest, and yet we sometimes see 
attempts of this sort made. It is needless to say that 
such attempts can result only in failure. 

As far as the representation of luminosity is con- 
cerned, it would seem best to limit the scope of art to 
the subjects and effects within reach of the imagination 
at least. 

As the principal concern of art is beauty, and as 
Nature cannot at all times be said to represent the high- 
est type of beauty, therefore it would seem to be within 

~ 74 


Art or Truth in Painting oA 


the province of art to depart from Nature, through the 
imagination, to a sufficient degree to achieve beauty in 
both form and color. 

The limitations of Nature in the composition of form 
are well known to artists, and the knowledge is rapidly 
becoming common property through the medium of the 
amateur photographer. 

The limitations of Nature as to color composition do 
not seem to be appreciated even by artists as fully as 
those of form composition. For example, we frequently 
see in Nature, particularly where there are evidences of 
civilization, colors which are out of harmony, colors 
which have a discordant or unpleasant effect on the eye. 
And it will often be surprising to note what small changes 
are required in such color compositions to make them 
harmonious. 

For instance, changing the color of a brick house 
into the various reds, ranging from orange red, red, 
purple red, and crimson pink, or the changing of the 
color of the sky into the various violet, gray, or green- 
blue colors, as required, or changing the color of grass 
and foliage into the various blue, yellow, and gray greens. 

As a matter of fact the same artistic license may be 
taken with Nature in color composition as is taken in 
composition of form, and still give the impression of 
truth as well as of beauty. 


CHAPTER Sy, 


A STANDARD COLOR CODE, AND NOMENCLATURE 


TT: infinite variety of arbitrary names applied 


to various colors in the commercial and art 

worlds suggests that it would be a great con- 
venience and economy to so codify the colors as to make 
it easy to describe them with a fair degree of accuracy, 
either with words or formula. 

At the present time the usage of color nomenclature 
is so indefinite that the word red may be used to indi- 
cate any one of a wide range of colors, including red 
orange, red, crimson, and purple red, together with their 
tones of tints and shades. The word blue may indicate 
any color from a greenish (peacock) blue to a violet, 
including the various modifications of light and shade. 
The words yellow, green, orange, and purple, while they 
each cover a wide range of colors, are more confined to 
a standard than red and blue. The word violet is used 
perhaps as often to designate a purple as it is to desig- 
nate a violet. 

Mere rule-of-thumb or empirical methods of deter- 

76 


A Standard Color Code, and Nomenclature 77 


mining the names of colors, which we are sorry to say 
have been largely used in color text-books for the public 
schools in America, can only lead to further confusion, 
and for this reason the author has adhered as closely as 
possible to the recognized scientific names for colors 
throughout this book. 

The author respectfully submits the following method 
of elaborating these names, so as to make them applica- 
ble to ordinary usage. 

For convenience the colors are placed in a circle (see 
color chart No. 2), somewhat after the manner indicated 
in the chapter on ‘‘Beauty in Color.” Beginning with 
the top, where we place the yellow, and reading to the 
left, the names of the colors which we would suggest 
will appear in the following order, 15 degrees apart. 

Yellow, lemon yellow, yellow green, sap green, green, 
bluish green, turquoise blue, greenish cyan, cyan blue, 
bluish cyan, blue, blue violet, violet, purple violet, pur- 
ple, purple magenta, magenta, crimson, scarlet, scarlet 
red, red, orange red, orange, orange yellow. 

These names should represent the pure hues (satu- 
rated and brilliant) or colors without any black or white 
mixed with them. The modifications with white may 
be indicated by using the term tint with the name of 
the color, thus: a tint of red, or a light tint of red, or a 
very light tint of red. 

The darker tones or hues mixed with black may be 
designated by the use of the term shade, thus: a shade 


78 The Colorist 


of green, a dark shade of green, or a very dark shade of 
green. 

The broken tones or hues modified by the addition 
of gray or a complementary color could be represented 
by using the term gvay with the name of the hue, thus: 
a grayish blue, a gray blue, a very gray blue. 

The following few examples will serve to illustrate the 
application of this method of describing colors. It must 
be remembered, however, that in these examples we are 
necessarily confined to well-known colors which are 
well enough described by their own names, and do not 
need such a method for their description. A pink could 
be variously described as a tint, a light tint, or a very 
light tint of either scarlet, crimson, or magenta. A red 
brown may be a shade, a dark shade, or a very dark 
shade of scarlet red or red. A yellow brown may be a 
shade, a dark shade, a very dark shade of orange red, 
Orange, or orange yellow. Or it could be a grayish or 
gray tone of any one of these colors. 

A flesh color could be described as a grayish tint of 
orange red. Amber could be called a shade of yellow, 
or gold color a grayish yellow. Sage green might be 
called a gray green. Navy blue a dark shade of violet. 

There is of course a pressing need for an accurate 
method of description which would enable-a correspon- 
dent to send an accurate description of a color by mail 
or telegraph in a simple formula. This may be done in 
a manner to fulfil all commercial requirements satisfac- 


A Standard Color Code, and Nomenclature 79 


torily, with a color wheel and a set of eight Maxwell 
discs. 

These sets should be made up of the two sets of 
primary colors, the plus and the minus colors, together 
with a black disc and a white disc. The wheel should 
have Ioo divisions at the outer edge, so as to enable the 
percentage of each color to be taken. The colors should 
be mixed as indicated in the chapter on ‘‘A Full Palette,” 
by combining in each instance only a plus color and a 
minus color, and these colors should be not more than 
75 degrees apart on the color chart No. 2. These two 
primaries may be modified by the addition of black and 
white, or both. 

Using the chemical form of notation to indicate the 
results of combinations on the color wheel, -we may 
represent vermilion, possibly, by the formula R. 85, Y. 15, 
substituting the initial letter for the complete word (as 
red 85, yellow 15). 

Emerald green may possibly be represented as G. 80, 
B. 10, W. Io (green 80, blue 10, white Io). 

Ultramarine blue as V. 85, B. 15 (violet 85, blue 15). 

Prussian blue as B. 75, V. 15, D. 10 (blue 75, violet 15, 
and dark or black 10). 

It will be noticed that the initial letter B. occurs in 
both blue and. black; we have therefore substituted D. 
for the initial letter of black, making it read dark instead 
of black. 

The initial letters will therefore read as follows for 


Bo The Colorist 


the eight discs: Yellow, Y.;. green, G.; cyan blue, B.; 
violet, V.; magenta, M.; red, R.; white, W.; and black 
or dark, D. 

The examples above are not from accurate meas- 
urements, and only indicate roughly the proper propor- 
tions. 

It is the purpose of the author to arrange for the 
manufacture of a color wheel and a set of standard color 
Maxwell discs of sufficient accuracy to meet the require- 
ments of commerce. 


CHAPTER XVI 


ADDENDUM 


HE application of the theory of color harmony, 
as formulated in the chapter on ‘‘Beauty in 


Color,’ has of course the widest possible range, 
and may be used for every purpose with which beautiful 
and tasteful color combinations are concerned. 

Naturally one of these applications of the theory 
would be in the selection of colors for ladies’ cos- 
tumes. 

The following are examples of the twelve principal 
harmonies from short descriptions by Miss M. K. Hatt. 

Harmony No. I, as represented in an evening gown 
for a brunette, could be made of flowered net having a 
dull cream-yellow ground upon which dark orange-red 
flowers and yellow-green leaves are scattered, mingling 
the gray and shadowy flowers with the more brilliant, 
Dresden fashion. The net should have an underslip of 
cream silk, the flounces and ruffles of the net to be piped 
with yellow-green taffeta, and finished with a yellow- 


green girdle. 
ro 


Qo The Colorist 


Harmony No. 2 is comprised in a gown for a brunette, 
made of warm gray chiffon, with an underslip of taffeta, 
changing in color from a dull yellow to a dull red, the 
principal trimming being a shirring of the chiffon. The 
girdle to be a wide ribbon velvet of dull red, with a 
“chou eat the packs 

Harmony No. 3 could be a “border gown,” the 
bodice and skirt as far as the knees being of dark ecru 
yellow, which melts into the border colors of tan, brown, 
then dark brown, through which are distributed faint 
red and pink roses. Brown velvet ribbon and pink 
roses trim the corsage of the gown. 

Harmony No. 4. <A color combination for an eve- 
ning or dinner gown of black moire, showing flower effects 
of delicate salmon-pink velvet roses. 

The seams of the skirt are left open from the knees 
down, showing an underdress of low-toned red. This 
red also forms accents at the shoulders and sleeves of 
the gown. 

Harmony No. 5. A _ beautiful gown could be made 
of warm gray chiffon satin, on which has been appliqued, 
with a silk cord, motifs of orchids cut from the material 
known as “‘Toile de Jouy.’”’ These would range in color 
from pink red to low-toned red and gray purple. 

The lines of the gown could be accentuated by these. 

Harmony No. 6. Could be used in a gown of dark 
gray-purple chiffon, ornamented with dark violet flowers. 

The underdress to be taffeta of a delicate low-toned 


Addendum 8 3 


pink, which should show slightly through the gray-purple 
chiffon. 

A bunch of dark (velvet) violets, with small ribbons 
of purple cascading from it, to be placed at the 
girdle. 

Harmony No. 7. Might be made into a pale blue- 
violet velvet evening gown, with small sequins of dark 
purple scattered over it. | 

The gown should have a deep flounce of purple 
chiffon at the bottom, on which is appliquéd violet 
motifs of velvet. , 

Touches of violet could be used to bring out the lines 
of the corsage. 

Harmony No. 8. For a blonde, a black gown of net 
which shades into pale blue at the bottom would be very 
becoming. 

Through the blue should be scattered profusely vio- 
lets of a deep tone. Blue and violet chiffon would form 
the top of the corsage, as well as the sleeves and lower 
part of the skirt. 

This gown should have a black underslip. 

Harmony No. 9. These colors suggest a beautiful 
“empire”? gown of blue-green silk mull, through which 
can be seen a changeable underdress of blue violet and 
blue. | | 

A narrow Greek border design of dark violet would 
finish the gown at the bottom, and also be introduced 
at the high girdle and bands on the short sleeves. 


84 The Colorist 


Fillet lace, dyed the blue-violet color, would form 
the yoke of the gown. 

Harmony No. 10. Would be desirable for a delicate 
sage-green chiffon broadcloth for afternoon wear. 

This should be richly embroidered in blue and a more 
brilliant shade of green, and completed with a soft girdle 
of cyan blue. 

Harmony No. 11. Would be charming for a ‘‘Titian’”’ 
beauty, made up as follows: 

A trailing evening gown of mousseline satin in blue 
green, the top of the corsage having a hand-painted 
chiffon drapery used as brettels, falling over the shoul- 
ders and knotted in a “‘chou’’ at the back, the free ends 
falling to the floor. This would be of grayish green, 
having greenish-yellow flowers. 

Harmony No. 12. Would be suitable for a gown of 
heavy lace of deep ecru yellow, the only trimming of 
which would be bands of chiffon satin of an apple-green 
hue, at the elbows of the short sleeves and at the neck 
and girdle. 









- MASK — 


To be cut out on the ‘prinfed 
lines and used on chart No.1 
according to directions ‘pres; 
ceding color charts,. 


- MASK — 





To be cut out on the ‘printed 
lines and used on chart No.1 
according to directions pre- 
ceding color charts, 

















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